1. The document describes a card trick called Flipwich that allows a spectator's chosen card to visibly change to a different card.
2. The trick uses a technique called the Flipwich move to secretly flip over two cards sandwiched between the chosen card and another card.
3. When performed subtly, the Flipwich move allows the chosen card to appear to transform before the spectators' eyes in an explicit manner, with no secret handling of the cards.
1. The document describes a card trick called Flipwich that allows a spectator's chosen card to visibly change to a different card.
2. The trick uses a technique called the Flipwich move to secretly flip over two cards sandwiched between the chosen card and another card.
3. When performed subtly, the Flipwich move allows the chosen card to appear to transform before the spectators' eyes in an explicit manner, with no secret handling of the cards.
1. The document describes a card trick called Flipwich that allows a spectator's chosen card to visibly change to a different card.
2. The trick uses a technique called the Flipwich move to secretly flip over two cards sandwiched between the chosen card and another card.
3. When performed subtly, the Flipwich move allows the chosen card to appear to transform before the spectators' eyes in an explicit manner, with no secret handling of the cards.
1. The document describes a card trick called Flipwich that allows a spectator's chosen card to visibly change to a different card.
2. The trick uses a technique called the Flipwich move to secretly flip over two cards sandwiched between the chosen card and another card.
3. When performed subtly, the Flipwich move allows the chosen card to appear to transform before the spectators' eyes in an explicit manner, with no secret handling of the cards.
table, and we knew it was necessary in changed, but in fact, the spectators did order to placate our clients. Sanders and not actually witness the transformation. I had been booked as a duo, an arrange- They only inferred that it happened ment we both enjoyed, since it allowed based on the result and the fact that there us to perform magic we might not other- appears be only one card involved. wise have been able to accomplish. As Conversely, causing the face of a card to such, we took up positions at opposite change as you wave your hand over it is sides of the table, and Sanders addressed explicit magic. The card changed before the VIPS, who looked decidedly indif- the spectator's eyes. Most sandwich ferent. tricks are implicit, but Flipwich is unde- '"I'm Richard," he said, as they stared niably an explicit effect. There is no at him blankly, "and over there is my squaring up prior to the change, nor is partner, Dave," whereupon they turned there any inscrutable handling of the to face me. Now, normally at this point, cards. The sandwiched card remains in I would smile and wave, and all atten- full view at all times, then it suddenly tion would return immediately to changes to another card! What more can Richard. Unfortunately, this was not to you ask?" be. For some reason that to this day Set-up: Place any card face up remains unexplained, my lower lip between two face-down cards. Square chose this particular moment to just... up the packet and hold it with your right give out... and a large and painfully evi- hand by the inner right comer, your first dent drop of drool oozed from my and second fingers beneath, your thumb mouth, landing with a splat onto some- on top (Fig. 1). one's plate. "A numbing silence fell over the group, who looked at me in horror, and I turned to Richard in desperation, hoping that he would find some way to quickly diffuse the tension. My mistake. Instead, his face contorted into an expression of painful glee, he bent slowly at the waist, then finally collapsed in a fit of uncon- trolled laughter. Ten seconds... twenty seconds... thirty seconds went by as we all looked on mortified, and still, FIG.1 Richard was unable to regain his com- posure. Every time he tried to get up, he would catch a glimpse of me, then fall Method: With a gentle squeeze, back on the floor in a newly rekindled fit spread the three-card packet by pulling of laughter." your fingers inwards and towards you while simultaneously pushing your thumb out towards the audience (Fig. 2). FLIPWICH Note that the pip at the outer left comer Acer writes: "There is a difference of the face-up card is now clearly visi- between implicit and explicit magic. ble. Dropping a card into a card box, then Position your right second finger on removing the card, showing it to have top of the three-card spread at the inner changed into another card is implicit right comer of the face-up card (Fig. 3). April, 1998 103 Your finger does not overlap the top card of the packet. Give your wrist a lit- tle shake as you pull your right second finger down, causing the two cards beneath it to flip over (or rather under) your right forefinger (Fig. 4).
FIG.2
Acer: "This sleight is not difficult to
do, but requires a certain knack. Some of you will give it a try and get it right from the get-go. Others may find it a little awkward. My point is, it does work, and I've fooled many, many people with it, including Gabe Kaplan, Reba McEntire, Joyce Dewitt, Robert Frost, Abraham Lincoln, Ms. Pac Man, Luke Skywalker and Robocop. Naturally, flicking your wrist while carrying out the Change obscures the fact that the cards are flipping over at your fingertips. However, if you prefer, FIG you may want to try the change without flicking your wrist. Instead, wave your left hand over the spread as you perform Grip the packet with your left hand, the flip-over. Timed properly, this wave tidying up the spread as you do so (Figs. obscures any movement of the cards. 5 and 6). Finally, with your right hand, Jay Sankey told me that this technique is slide the face-up card from between the similar, though not identical, to a move two outside sandwich-cards. Clearly published by Ben Harris in a manuscript show it on both sides. called Fandango." 104 The Linking Ring COLOR SCHEME That's probably because even experts in Effect: The magician says, "We hear mass hypnosis can only pull it off for a about hypnosis a lot, but we rarely hear couple of seconds. I'll show you what I about mass hypnosis. That's probably mean." because even experts in mass hypnosis With your right hand, take the selec- can only pull it off for a couple of sec- tion back from the spectator, adding: "I onds. I'll show you what I mean." The just need a couple more cards for this." magician then sandwiches a freely cho- Reach into your left jacket pocket with sen, signed card face down between two your left hand and remove the two dou- indifferent cards. All three cards are red- ble-backers with the two red backs backed. He continues: "I'm going to uppermost. Drop the selection face up hypnotize you all in such a way that your onto the two double-backers, holding all signed card is somehow going to look three cards in a left-hand dealing posi- different to you. I have no idea how. tion. Maybe it'll look bigger, or smaller, or Situation Check: The order of the maybe it will suddenly resemble Abe cards from top to bottom should be: Vigoda's disembodied head. It affects face-up selection, red/blue card, and different groups in different ways, but, red/red card. regardless, here goes." Spread the three-card packet from left He shakes the packet gently, where- to right (Fig. 1). Notice that your left upon the sandwiched selection visibly thumb is resting on the inner left comer becomes blue-backed! It is shown front of the second card and your right first and back, then removed from the packet, and second fingers are resting on the and finally reverts to its original, red- face of the bottom card. backed form. The card is left as a sou- venir. Acer writes: "I often use this as a fol- low-up to any routine using a signed selection. The effect is quick, and can be delivered in a throwaway fashion, but the change is so visual that it's worth doing. You must be familiar with the Flipwich move, already described." Requirements: (1) Two double- backed cards: a red/red double-backer and a red/blue double-backer. Set-up: Place the red/red card on the table, then place the red/blue card on top of it, blue-side down. Drop both cards as such into your left jacket pocket, with the red/red card outermost. Method: Suppose that you have already done a trick or two with the spectator's signed selection. The selec- tion is handed to a spectator as a sou- venir and the deck is dropped into your Move your right hand to the right as left jacket pocket. Say, "You know, it's your left thumb keeps the second card funny. We hear about hypnosis a lot, but pinned in position so that it does not we rarely hear about mass hypnosis. move with the other two (Fig. 2).
April, 1998 105
Keep sliding cards # 1 and #3 to the the top of the packet with your right right until they clear card # 2, then drop hand. them onto card # 2 and square every- With your left hand, casually spread thing into left-hand dealing position. the two cards it now holds, showing Say, "I'm going to hypnotize you all in them to both be red-backed. With your such a way that your signed card is right hand , give the face-up selection a somehow going to look different to you. little shake, then turn it face down, I have no idea how it affects different showing the back to have reverted to its groups in different ways but regardless, original red form. Drop the two double- here goes!" backers into your left jacket pocket as Perform a Double Lift Turnover, as you drop the selection to the table to cap you apparently flip the selection face the action sequence. down onto the packet. In reality, flip both the selection and the red/red dou- ble-backer beneath it. Consequently, the TIME FLIES red/red card is now on top. Remove the Effect: The magician borrows a quar- top (red/red) card and sandwich it face ter from a spectator and holds it on the down between the other two. Perform palm of his left hand. "Remember this the Flipwich move, causing the sand- moment, because I'm about to make wiched card to suddenly and visibly your quarter travel backwards in time." become blue-backed (Figs. 3 and 4). He picks up the quarter at his right fin- gertips and drops it into his right pants FIG.3 pocket. His left hand is now clearly empty. He continues, "I need a little help, though." With his right hand, he pulls back his left sleeve, showing a watch. He removes the watch, then waves it counterclockwise over his closed left fist. Upon opening his fist, the quarter is seen resting on his palm. Beyond that, the watch is no longer in his right hand. Instead it is now back on his left wrist! Acer writes: "Very little of my mater- ial relies on body language, but this cer- tainly does. It's actually one of my easi- est routines. With a moderate amount of rehearsal time, you should be able to throw it into your performances when- ever you see fit." FIG.4 Requirements: (1) An American or Canadian quarter. (2) Two identical wristwatches. (3) You must also be Slide the blue-backer out from wearing a sports jacket or blazer when between the Other two cards and drop it you do this. The reasons will soon be onto the packet (blue side up, of course). apparent. Perform another Double Lift Turnover, Set-up: Strap the watches to your left showing the face of the spectator's wrist about an inch apart. Naturally, in selection. Remove the selection from performance, these will be covered by 706 The Linking Ring